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Bonabode Visits: Patricia Iglesias

February 9, 2019 - Kelly Bergin

I have known artist Patricia “Pato” Iglesias and followed her work for over a decade, and have come to view spending time with her as something of a master class in beauty. She greets her guests with tea and sweets served on patterned china. Her spaces are layered with furniture and objects she has collected over the years that trace the path from her upbringing in Buenos Aires, to Savannah, where she attended school, to Brooklyn, where she has lived for over two decades. Each piece is placed with a nonchalance that keeps the overall vibe relaxed and inviting, and her warmth and genuine enthusiasm encourage long, laid-back visits.

 

 

Panthalassa Society: Everything is Regional by Tyler Haughey

December 14, 2018 - Elisa Routa

Photographer Tyler Haughey grew up less than a mile from the beach just outside of Asbury Park, in New Jersey. On weekends, he used to spend time at his grandparents’ beach house in Barnegat Light where started a true fascination for coastal towns and regions.

Earlier this year, New York-based photographer released his new photobook entitled Everything is Regional, a print project described as a monograph that examines the built environment of northeastern coastal towns and explores how we use, interact with, and remember places designed and known for summer recreation.

32 Photobooks That Dropped Our Jaws in 2018

December 14, 2018 - Humble Arts Foundation

A Conversation with Jane Rosen: Hawk Story

September 21, 2018 - Richard Whittaker

I met Jane Rosen not long after I’d begun publishing an art magazine. She was living in a rented house on a horse ranch near San Gregorio Beach forty miles south of San Francisco, and was unmistakably, a New Yorker. In fact, she was having a hard time making a decision. Would she make her career in New York, where she already had a great start, or trust her chances in northern California in the Bay Area? She’d gone back and forth, literally, over a period of some years from East Coast to West Coast and back. She’d taught at the School of Visual Arts in NYC and at Stanford in Palo Alto. And at one point, she was offered a tenured position at Bard, where she’d be teaching with a close friend, Judy Pfaff.   To read the whole article click here.

Seasonal Documentation

September 18, 2018 - Aesthetica Magazine

Pure and Simple: Shelter Island Artist Kathryn Lynch

July 13, 2018 - Samantha McConnel

Artist Kathryn Lynch does not take it as an insult if you call her work “primitive.” Far from it. Though she prefers to call herself a “simplist” – more specifically a “representational simplist,” she is quick to point out that it is “very hard to be simple.”

Her paintings, she says, look so easy they inspire others to pick up a brush. Then they discover: “‘Damn, that’s hard.’ They don’t understand why it doesn’t work.”

Unlike true primitivists, Lynch underwent formal training, receiving her MFA from the University of Pennsylvania. “I can very quickly get the gist of something, which does take skill.”

Whether working out of her Brooklyn or Shelter Island studios, the artist spends a couple of hours a day walking. It is on these forays that she finds her subjects. She does not necessarily seek out her material, rather she allows things “to stick out and grab me.” But there are certain subjects that seem to pop up regularly: landscapes and seascapes, of course. But also flowers and cityscapes and such New York icons as tug boats. She completed a series of dog images after her children begged her successfully for a puppy. Studies in illumination are also rampant. “I often paint night,” she says, remarking on how the light diffuses. “East Coast light especially always has a softness to it where things kind of melt into each other.”

Read full article here

 

Five Contemporary Finds at AIPAD 2018

April 8, 2018 - Kat Kiernan

Hunters and Hustlers: Feminism and Theatricality in Suzy Spence and Heather Morgan

February 15, 2018 - Wen Tao

A major element of early feminist art criticism came down to detective work. Outing the male gaze in paintings of female subjects was akin to using black light to reveal traces of blood at a crime scene. Form, facture and viewpoint served as evidence in a forensic process – manifestations of objectification, voyeurism and idealization were exposed.

Nowadays, the crime scene is complicated, especially where female authorship is concerned. In paintings of women by women, thanks to a sense of intimate self-knowledge, what has begun to emerge are emphatic – indeed, empathetic – attempts to maneuver the inherent theatricality of being subjected to the gazed. The subject can become complicit and resigned to being a displayed object, or lay out an elaborate performative trap in which the unaware spectator devours the bait. Two current shows present different but equally intriguing examples of such maneuvering: Suzy Spence’s A Night Among the Horses, ongoing at Sears Peyton Gallery in Chelsea, and Heather Morgan’s Heavenly Creatures, at David Schweitzer Gallery, last month, in Bushwick.

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